Review by Frank Plowright
This second bulkier collection of Jason Aaron’s Avengers combines a fair few artists and what was originally released as two wars: War of the Vampires and War of the Realms.
Both reflect Aaron’s commitment to horror as a genre applicable to the Avengers, seen through the wild card introduction of Ghost Rider and Blade as team members. Dracula is the primary consideration in the first story, seemingly now an outcast among the vampire community after centuries of rule, and headed to Russia to ask for sanctuary. That, naturally enough, involves the Russian superheroes, who plague the Avengers throughout Aaron’s run.
They’re needed, as no matter how deadly vampires are to ordinary humans, the Avengers shouldn’t really have many problems dealing with them, so the additional more powerful and manipulative threat is welcome. In terms of character beats Aaron suddenly decides the comedy Thor from the movies isn’t fitting and abruptly switches the personality to something more imperial with no great explanation. Someone else here also seems rather out of sorts, unusually so, but a fine revelation toward the end provides a rational explanation and nicely sets up events further down the line.
The War of the Realms was a company crossover with Aaron as the prime motivator, but he has little use for the bigger picture here, and instead uses the trappings and cast to spotlight individual Avengers, some villains, and supporting cast in their own chapters. In turn we see the Squadron Supreme, Gorilla Man, She-Hulk and Ghost Rider, with a separate chapter allocated to the Avengers having a meeting while bathing in a hot spring. That’s certainly different!
As different as the primary artistic styles, perhaps. On the vampire section David Marquez switches to a heavier black ink-soaked style when compared with his open superhero pages from Vol. 1. It’s equally good, though, and far more suited to the prevailing mood. Ed McGuinness is less successful on that score. Few superhero artists equal his enthusiasm for bombastic battle, and he’s a dab hand with a pin-up or montage, but he struggles with the moments between. Mention should also be made of Andrea Sorrentino’s efforts on the opening chapter’s Iron Fist story. It’s pared down from his usual visual complexity, but still fine art.
This is a collection of ebbs and flows. In places, such as the Gorilla Man solo, it’s very good indeed, while in others, such as a battle with Ghost Rider’s inner spirit, it seems just page filler. Overall the good just about wins out.
